I got the impression that the golden age of British ballet came out of exposure during the war and purposeful attempt by the government to civilise the people
in an attempt to stave off imperial decline.

It depends on the associations and politics too. There’s a good amount of low level ballet for little girls in Ireland, not so much support at a higher level.
Partly to do with the legacy of generations of little Irelanders and their vision of ruddy
faced peasant girls dancing a gelded version of Irish dance at the crossroads.
Despite De Valois’s attempts.

As someone one who has run comment sections on a political blog for quite a time, I am hugely sympathetic to and appreciative of the moderators, even when I disagree strongly with some of their moderation (though I'm sure they disagree among themselves just as strongly)
It's a very difficult job to get even roughly right, and there are a lot of things to balance. In the end of the day it's impossible to keep everyone happy: generally you end up leaving pretty much everyone unhappy when you have to intervene except in the most clear-cut cases of abuse.

It strikes me that there's a difference between funnelling money and acclaim to a living artist who has or quite possibly is engaged in abuse and a long dead artist who isn't going to get any benefit whatsoever from the acclaim and certainly has no use for the money.

I've started tap, which I enjoy, but it's a different energy to ballet, frothier, maybe more fun but less engaging and satisfying. Good exercise for my woeful sense of rhythm though, the beats and responses to them are much clearer than in ballet.

In fact, far from censorship, they’ve probably brought the painting in question to the attention of far more people than would otherwise have seen it unless it features in a secondary level art course or something.
It’s an interesting study in provoking outrage.

I am sort of interested by your reaction to a picture being taken temporarily off exhibition. (Not to mention the hilarity of this comment from the article "I don’t like the replacement and removal of art and being told ‘that’s wrong and this is right’. They are using their power to veto art in a public collection." What on earth does he think curators and galleries do, have always done?)
Do you see yourself as a participant in the art piece, acting out your assigned role?